
AUSTRALIA
Aboriginal art is as old as the aboriginal occupation of the Australian continent and as such it is at least 40,000 years old. Apart from commercial considerations, the art of the aboriginal people as been an important means of preserving the beautiful cultural heritage of the Aboriginal people.
Indeed, Aboriginal mythology contends that in the the beginning the Ancestral Beings rose from the folds of the earth and stretching up to the scorching sun they called, "I am!" As each Ancestor sang out their name, "I am Snake", "I am Honey Ant", they created the most sacred of their songs. Slowly they began to move across the barren land naming all things and thus bringing them into being. Their words forming verses as the Ancestors walked about, they sang mountains, rivers and deserts into existence. Wherever they went, their songs remained, creating a web of songlines over the Country. As they travelled the Ancestors hunted, ate, made love, sang and danced leaving a trail of Dreaming along the songlines. Finally at the end of their journey the Ancestral Beings sang 'back into' the earth where they can be seen as land formations, sleeping.
There are many different facets of Aboriginal art, from painting, sculpture, ceremony and dance, to the making of body ornaments, carved utensils, body painting, feather work and fibre art and spun or woven articles for everyday use.
All these arts form a living tradition that has been passed down through the generations from the earliest times. This web site will focus primarily on the more well known art forms such as rock art and painting.
Aboriginal rock art is generally regard as one of the oldest forms of aboriginal art being more than 40,000 years old, a time span five times greater than the age of the Egyptian pyramids. Rock art gives us descriptive information about social activities, material culture, economy, environmental change, and myth and religion.


In many case it is often difficult to identify the subject of the painting due to the interpretation of the artist. In some cases the images can also be distorted from reality due to religious beliefs making it difficult to tell if the subject matter is a real human figure or a mythological being. Interestingly, in the Kimberley region, Aborigines claim that the oldest rock art, the Bradshaw paintings, were made by the birds that pecked the rocks until their beaks bled and painted the images with their tail feathers.

Painting of a Tasmanian tiger at Kakadu
National Park, Northern Territory, Australia.
Water has washed away the back of the figure.
The ancestral creators can be found on rock walls from the huge mouthless Wandjina figures of the Kimberley east to the giant Gangi Nganang of Keep River National Park to the large creation figures of the Victoria River. In Western Arnhem, Aborigines distinguish between the oldest rock art known as Mimi Art, younger images of the ancestor beings when they entered the landscape, and more recent pictures created by their people. Aborigines maintain that that the Mimi people inhabited the land before the Rainbow Serpent created the Aborigines. The Mimi people painted small dynamic images, taught the Aborigines how to paint, hunt, sing, dance, and talk, and then became spirit beings.

Wandjina art site, Kimberley, Western Australia
Archeologists have placed
the many styles in a chronological sequence delineated by environmental
changes and historic events. In western Arnhem, archeologists recognize
three periods: Pre-Estuarine (drier climate, extinct animals like
thylacine), Estuarine (rising sea levels, marine fauna like barramundi
and salt water crocodiles, Rainbow Serpent), and Freshwater (freshwater
fauna like magpie geese, goose feather adornment). Images of freshwater
fauna showing internal anatomy appeared in the last 3,000 years. More
recent pictures record contact with Macassans and later Europeans (e.g.,
boats, guns). Likewise, there are material changes as boomerangs are
replaced by composite spears and broad spearthrowers, which, in turn,
are replaced by long spear-throwers.
An Extract from Jane's Oceania
Home Page Newsletter for December 2008
The discovery of
spectacular treasure-trove of Aboriginal rock art at Dullard in
the Wellington Range, Anthem Land in outback Australia is set to
rewrite the history of Australia. In a find that has stunned
archaeologists and anthropologists, a vast wall of about 1500
paintings chronicles the history of Aboriginal contact with
outsiders, from Macassar prows and European sailing ships to
19th-century steamships and a World War II battleship.
Alongside exquisite rock art more than 15,000 years old are
paintings that capture some of the 19th and 20th centuries' most
important technological innovations - a biplane, bicycle, car
and rifle - as well as portraits of church ministers, sea
captains and traders. This indigenous version of a history book
rivals anything similar in the world and holds the key to
Australia's ancient and modern history
Contrary to the popular view that indigenous Australians were
isolated on their island continent, waves of other seafaring
visitors arrived long before British settlement. For hundreds of
years there may have been an export economy in northern
Australia driven by the Chinese appetite for trepang, or sea
cucumber. While it has long been known that Manassas traded with
Aboriginal people, the accepted date for this was in the early
18th century - this discovery suggests that it may have begun
centuries earlier.
The rock art dismantles the popular identity of Australia being
a nation first visited by the British and it goes against the
idea of the Bicentennial and convicts. Apart from conducting the
first full recording of the Djulirri art, researchers have also
discovered thousands of other rock paintings previously unknown
to science
This important discovery certainly elevates the importance of
Aboriginal art to a much higher level. It not only records the
spiritualism of the aboriginal people but also can provide a
much broader historical perspective on the interaction between
the aboriginal community and other societies. The importance of
this find cannot be underestimated and there is no doubt that
urgent government attention is required to ensure that the find
is protected from degrading by tourism and mining interests.
Aboriginal painting has also evolved in a similar manner with many different styles being evident. The first painting below is by artist Jabaljarri of the Jawoyn tribe and is in the 'dot' style used by the Aboriginal artist of Central Australia. The painting tells the story of people travelling to a meeting to learn about setting up their own businesses. The meaning of various symbols used on the painting is also explained under the main painting, below.







The second painting is by Walter Lui from the Torres Strait. The painting incorporates the predominant influences in the Torres Strait. It incorporates a dari [head dress], a warup [drum] and a colap [spinning top] which represent the importance culture plays in the everyday lives of Torres Strait islanders. The crayfish, the boat and the pearl shell represent elements of the marine industry in the Torres Strait.

The worldwide acceptance and the commercial value of Aboriginal art can be appreciated in the context of the following extract from Jane's Oceania Home Page Newsletter dated 5th July 2006.
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The Musee du quai
Branly in Paris, next to the Eiffel Tower on the Seine, is an
impressive building made even more so by the integration into its
visionary architecture, the indigenous art of the Australian
Aboriginal people. The art is produced by eight different
aboriginal art communities across Australia and reflects the
spiritualism of a rich art form that has its origins on the wall
of a cave possibly as early as 40,000 years ago. One would have to suspect that there is a message here for the many talented artists throughout the Pacific region. Certainly, our indigenous art has considerable cultural and artistic merit as well as financial worth. In this respect, the intellectual copyright should remain with our people and the financial rewards should, hopefully, in the longer term, provide appropriate benefits to our Oceania communities.
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Australian Aboriginal Anthropology
Australian Aboriginal Anthropology 1
Australian Aboriginal Dreamtime
